To understand Bolling’s film music one must know his vast and multifaceted musical production. It ranges from purely jazz music to crossover music, with marvelous suites for various instruments and jazz piano trio, performed and recorded with some of the most famous performers (J.P. Rampal, A. Lagoyá, M. André, Yo Yo Ma, London Symphony Orchestra, etc.); from the 60s pop songs written for Brigitte Bardot and “Les Parisiennes” to over 100 soundtracks for movies, cartoons, documentaries.

Carson Cooman is many things musical organist and Composer in Residence at the Memorial Church, Harvard University; writer, critic and consultant, concert organist, and above all a highly prolific composer of music in a wide variety of genres, from orchestral to song. His organ compositions come in many styles, from liturgical models, to more gritty and substantial pieces such as his organ symphonies and preludes and fugues. The music in this programme, all composed in 2016 and 2017, is varied and consists of concert pieces (though suitable for church use) as opposed to explicitly liturgical works.

Samuel Leroy Taylor, Jr. (July 12, 1916 – October 5, 1990), known as Sam "The Man" Taylor, was an American jazz and blues tenor saxophonist, whose honking style set the standard for tenor sax solos in both R&B and jazz. Taylor was born in Lexington, Tennessee. He attended Alabama State University, where he played with the Bama State Collegians. He later worked with Scatman Crothers, Cootie Williams, Lucky Millinder, Cab Calloway, Ray Charles, Buddy Johnson, Louis Jordan and Big Joe Turner. Taylor was one of the most requested session saxophone players in New York recording studios in the 1950s. He also replaced Count Basie as the house bandleader on Alan Freed's radio series, Camel Rock 'n Roll Dance Party, on CBS.

This double cd pack is more than a simple anthology. It starts with a complete John Cale-overseen remaster of the long out-of-print 1982 album "Music for a new society", along with 3 exclusive new tracks. But the real meat of the work is M:Fans, a complete reworking of the entire original 1982 album, to which the remastered "Music for a new society" serves merely as preface. "John Cale re-contextualises the original songs into radical new forms to resonate with the digital age. Includes a new recording of 'Back To The End' - a previously lost track from the original session."

Composer John Cage (1912-1992) is one of the classical world’s best known experimental composers and theorists. Electronic Music for Piano is one of Cage’s least known pieces because the score is among his most enigmatic and consequently, there are few commercial recordings of it. Written in Stockholm in 1964 on hotel letterhead, the notes ask the performer to select parts from his Music for Piano 4-84 and use electronic equipment. Everything else is up to the artist’s discretion. Enter Tania Chen, the U.K.-based pianist who has become a revered and leading interpreter of Cage’s work. Recording in both London and Berkeley, CA, Chen joined forces with Thurston Moore (Sonic Youth), David Toop (former member of The Flying Lizards, and recording artist on Brian Eno’s Obscure label) and Jon Leidecker (aka Wobbly, who has also worked with Negativland) to create a new version of this piece helmed by Gino Robair composer, musician, and scholar.

With Gloriosus Franciscus, Anonima Frottolisti presents a cross-section of music relevant to the Franciscan ideal from the thirteenth to the sixteenth centuries The sequence of selected pieces reveals both the learned side of this music and its closeness to 'folk' traditions during the period straddling the Middle Ages and the Renaissance, as a symbolic homage to the city where Anonima Frottolisti was born (Assisi).

The Keble College Choir release their new CD today, entitled Ceremonial Oxford: Music for the Georgian University by William Hayes. The project is a collaboration between the Choir, under Music Director Matthew Martin, and period instrument ensemble Instruments of Time & Truth. The recording is already garnering rave reviews, including a five-star rating in Early Music Review.

This well-planned Naxos programme is carefully laid out in two parts, each of viol music interspersed with harpsichord and organ pieces and ending with an anthem. It gives collectors an admirable opportunity to sample, very inexpensively, the wider output of Thomas Tomkins, and outstandingly fine Elizabethan musician whose music is still too known. Though he is best known for hid magnificent church music, it is refreshing to discover what he could do with viols, experimenting with different combinations of sizes of instruments, usually writing with the polyphony subservient to expressive harmonic feeling, as in the splendid and touching Fantasia for six viols. Perhaps the most remarkable piece here is the Hexachord fantasia, where the scurrying part-writing ornaments a rising and falling six-note scale (hexachord). The two five-part verse anthems and Above the stars, which is in six parts, are accompanied by five viols, with a fine counter-tenor in Above the stars and a bass in Thou art my King.